Notwist

Those of us marooned on the little chunk of rock known as the contiguous United States have had what can ...

Those of us marooned on the little chunk of rock known as the contiguous United States have had what can be politely
described as a roundabout introduction to this group of German renaissance men. The first Notwist album to
receive a proper stateside release (1995's 12) was actually their third; the US version of 12
featured a very minor radio hit-- at least in the New England area-- called "The Incredible Change of Our Alien" (befitting
all this convolution, the track was actually a remix of a track from the Notwist's 2nd album, Nook, greedily appended
to our version of 12).

Soon after Shrink (1998), the Notwist found themselves without American representation when their label
Zero Hour went belly up. Had Zero Hour not cashed in its chips, there's a fine chance that the hubbub that rightfully
enveloped the band's 2002's Neon Golden might have come four years earlier. In yet another case of
"better late than never," the Notwist did finally receive their well-deserved props, which means most of their unavailable
back catalog is sure to be re-released in America. I imagine the multitude of praise heaped upon Notwist-affiliated outfits
such as Lali Puna, the Tied & Tickled Trio, and Console also played a part in this recent surge of interest; it's the
Notwist's seamless combination of rock foundations with the IDM blips and jazzy squeals these "side projects" are known for
that led people to take notice of the Notwist.

Those with a vested interest in the group's origin have undoubtedly come across biographies that begin with some
variation on, "The Notwist began as a heavy metal/hardcore punk group..." Anyone undeterred by
this statement, still itching to get your hands on this album, hoping to find small bits-- even a hint of a hint of a hint of the casual
eclecticism that embodies the excellence of the Notwist's last two albums-- might want to keep their money in the piggy bank for
a little while longer. Those biographers playing fast & loose with genres weren't full of themselves: this record
features a good helping of double bass drum action, consistent cymbal abuse, guitar fret squealing and wheedling, lots of
chords chug-chug-chugging, and even a few spots where Markus Acher (he of the laconic Teutonic vocalizing)
actually essays a few disgruntled ur-screamo barks. Suffice it to say that the kindler, gentler musical backdrops of modern-day
Notwist flatter Acher's voice more than the band's headbanging material of thirteen years' past.

Outside of one relatively jovial & chirpy track introduction (the first 60 seconds of Yatsura soundalike "Seasons"), this album
positions itself alongside the indie rock bastions that best approximated heavy metal via smashing the punk rock (just
about anyone on Touch & Go circa 1993, a good number of now-forgotten bands on Homestead) and the current class
underground bands not afraid to shove metal straight up your ass (Neurosis, Converge, and the Hydrahead roster). Once in a while,
these two worlds collide-- the concluding track "Nothing Like You" would pass for pro-forma slack motherfucker-y were it not for the
30 seconds of bridging riffage thrown in at the 2:30 mark, and "I've Not Forgotten You" segues from apocalyptic anvil-banging
into spry indie sprints.

In some places, there's even a bit of loud fast ruling, Minneapolis style-- the soloing in "Be Reckless" could just as easily
have come out of Bob Mould's Flying V as it could from some Aquanetted Yngwie disciple, and "Think For Yourself" wouldn't be
out of place as an extra track on Everything Falls Apart (excepting the Dinosaur Jr. moves thrown in between fist pumps).
Other tracks ("Is It Fear", "K. Das Devil", "One Wasted") are less shameless about their affinity for rock of a harder vintage--
feel free to imagine the effect (deleterious or otherwise) Germany's biggest rock export, the Scorpions, had on these
impressionable kinder.

Notwist is an interesting confluence of guitar-rock influences, if the finer points might be lost on
folks unable to get past the somewhat egregious presence of various metal tropes; it might prove even
more difficult if one associates the fret runs and riffage with the set of Hot Topic chain wallet groups currently vying for
their 2 spots on the TRL countdown, but that certainly doesn't mean it's not worth hearing. In light of what's followed, though,
this album pales in comparison, and anyone dead-set on finding anything resembling recent Notwist
high points like "Pilot" or "Day 7" would be better served waiting for the next Notwist album.